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Euripides III: Heracles, The Trojan Women, Iphigenia among the Taurians, Ion (The Complete Greek Tragedies)
by EuripidesEuripides III contains the plays “Heracles,” translated by William Arrowsmith; “The Trojan Women,” translated by Richmond Lattimore; “Iphigenia among the Taurians,” translated by Anne Carson; and “Ion,” translated by Ronald Frederick Willetts. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides III: Heracles, The Trojan Women, Iphigenia among the Taurians, Ion (The Complete Greek Tragedies)
by EuripidesEuripides III contains the plays “Heracles,” translated by William Arrowsmith; “The Trojan Women,” translated by Richmond Lattimore; “Iphigenia among the Taurians,” translated by Anne Carson; and “Ion,” translated by Ronald Frederick Willetts. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides III: Heracles, The Trojan Women, Iphigenia among the Taurians, Ion (The Complete Greek Tragedies)
by EuripidesEuripides III contains the plays “Heracles,” translated by William Arrowsmith; “The Trojan Women,” translated by Richmond Lattimore; “Iphigenia among the Taurians,” translated by Anne Carson; and “Ion,” translated by Ronald Frederick Willetts. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides III: Heracles, The Trojan Women, Iphigenia among the Taurians, Ion (The Complete Greek Tragedies)
by EuripidesEuripides III contains the plays “Heracles,” translated by William Arrowsmith; “The Trojan Women,” translated by Richmond Lattimore; “Iphigenia among the Taurians,” translated by Anne Carson; and “Ion,” translated by Ronald Frederick Willetts. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides III: Heracles, The Trojan Women, Iphigenia among the Taurians, Ion (The Complete Greek Tragedies)
by EuripidesEuripides III contains the plays “Heracles,” translated by William Arrowsmith; “The Trojan Women,” translated by Richmond Lattimore; “Iphigenia among the Taurians,” translated by Anne Carson; and “Ion,” translated by Ronald Frederick Willetts. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides IV: Helen, The Phoenician Women, Orestes (The Complete Greek Tragedies)
by EuripidesEuripides IV contains the plays “Helen,” translated by Richmond Lattimore; “The Phoenician Women,” translated by Elizabeth Wyckoff; and “Orestes,” translated by William Arrowsmith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon
by Mario TelòThe Greek playwright Aristophanes (active 427–386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes’s rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors’ comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes’s canonical dominance ever since.
Shakespeare's Noise
by Kenneth Gross"You common cry of curs! whose breath I hate / As reek o'th'rotten fens, whose loves I prize / As the dead carcasses of unburied men / That do corrupt my air: I banish you!" (from Coriolanus) Kenneth Gross explores Shakespeare's deep fascination with dangerous and disorderly forms of speaking—especially rumor, slander, insult, vituperation, and curse—and through them offers a vision of the work of words in his plays. Coriolanus's taunts or Lear's curses force us to think not just about how Shakespeare's characters speak, but also about how they hear, overhear, and mishear what is spoken, how rumor becomes tragic knowledge for Hamlet, or opens Othello to fantastic jealousies. Gross also shows how Shakespeare's preoccupation with "noisy" speech echoed and transformed a broader cultural obsession with the perils of rumor, slander, and libel in Renaissance England. Elegantly written and passionately argued, Shakespeare's Noise will challenge and delight anyone who loves his plays, from scholars to general readers, actors, and directors.
Shylock Is Shakespeare
by Kenneth GrossShylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his antisemitic tormentors, is one of Shakespeare’s most complex and idiosyncratic characters. With his unsettling eloquence and his varying voices of protest, play, rage, and refusal, Shylock remains a source of perennial fascination. What explains the strange and enduring force of this character, so unlike that of any other in Shakespeare’s plays? Kenneth Gross posits that the figure of Shylock is so powerful because he is the voice of Shakespeare himself. Marvelously speculative and articulate, Gross’s book argues that Shylock is a breakthrough for Shakespeare the playwright, an early realization of the Bard’s power to create dramatic voices that speak for hidden, unconscious, even inhuman impulses—characters larger than the plays that contain them and ready to escape the author’s control. Shylock is also a mask for Shakespeare’s own need, rage, vulnerability, and generosity, giving form to Shakespeare’s ambition as an author and his uncertain bond with the audience. Gross’s vision of Shylock as Shakespeare’s covert double leads to a probing analysis of the character’s peculiar isolation, ambivalence, opacity, and dark humor. Addressing the broader resonance of Shylock, both historical and artistic, Gross examines the character’s hold on later readers and writers, including Heinrich Heine and Philip Roth, suggesting that Shylock mirrors the ambiguous states of Jewishness in modernity. A bravura critical performance, Shylock Is Shakespeare will fascinate readers with its range of reference, its union of rigor and play, and its conjectural—even fictive—means of coming to terms with the question of Shylock, ultimately taking readers to the very heart of Shakespeare’s humanizing genius.
Shylock Is Shakespeare
by Kenneth GrossShylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his antisemitic tormentors, is one of Shakespeare’s most complex and idiosyncratic characters. With his unsettling eloquence and his varying voices of protest, play, rage, and refusal, Shylock remains a source of perennial fascination. What explains the strange and enduring force of this character, so unlike that of any other in Shakespeare’s plays? Kenneth Gross posits that the figure of Shylock is so powerful because he is the voice of Shakespeare himself. Marvelously speculative and articulate, Gross’s book argues that Shylock is a breakthrough for Shakespeare the playwright, an early realization of the Bard’s power to create dramatic voices that speak for hidden, unconscious, even inhuman impulses—characters larger than the plays that contain them and ready to escape the author’s control. Shylock is also a mask for Shakespeare’s own need, rage, vulnerability, and generosity, giving form to Shakespeare’s ambition as an author and his uncertain bond with the audience. Gross’s vision of Shylock as Shakespeare’s covert double leads to a probing analysis of the character’s peculiar isolation, ambivalence, opacity, and dark humor. Addressing the broader resonance of Shylock, both historical and artistic, Gross examines the character’s hold on later readers and writers, including Heinrich Heine and Philip Roth, suggesting that Shylock mirrors the ambiguous states of Jewishness in modernity. A bravura critical performance, Shylock Is Shakespeare will fascinate readers with its range of reference, its union of rigor and play, and its conjectural—even fictive—means of coming to terms with the question of Shylock, ultimately taking readers to the very heart of Shakespeare’s humanizing genius.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Aeschylus II: The Oresteia (The Complete Greek Tragedies)
by AeschylusAeschylus II contains “The Oresteia,” translated by Richmond Lattimore, and fragments of “Proteus,” translated by Mark Griffith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.